#berlin avantgarde

[muskming]

Musk Ming at the opening of gallery BERLIN AVANTGARDE (2010)

[bspoquemagazine]

Der JSF RESEARCH ROOM öffnet in Berlin: Archiv & Bibliothek

Der Research Room bietet Zugang zur Julia Stoschek Collection, dem führenden privaten zeitbasierten Kunstarchiv, und der Bibliothek für detaillierte Recherchen.

Rund 35 Prozent der fast 1000 Werke von 300 Künstler*innen sind online auf unserer Website sowie an den Sammlungsstandorten in Düsseldorf und Berlin zugänglich. Nach der Eröffnung des Research Room in Düsseldorf im Jahr 2021 haben registrierte Besucher:innen in Berlin nun Zugang zu den gesamten Beständen der Sammlung, einschließlich der Werke, die derzeit nicht öffentlich…

[yellowmanula]

Dear Friends,

On November 29th-30th, the Aggregate, Electroacoustic Music Festival will take place in Berlin. This event merges tradition with electronic music, as through the use of MIDI, artists metaphorically awaken the spirit of the machine slumbering within the organ. Therefore, the festival features artists deeply connected to movements such as algorave—a type of event where the artist writes code in real-time, generating music—and electroacoustic traditions.

The festival’s approach to the relationship between musician and instrument is retro-futuristic, drawing from the ideas of electroacoustic avant-garde figures like Kotoński, Schaeffer, Varèse, Stockhausen, and many others. However, it raises new questions about how computer-controlled instrumental music, with its virtuosity, transcends the boundaries of perception in highly compressed musical events. It explores the intersections between electronic and acoustic music, objective interpretation, and the effects of mechanically precise performance.

Curators: gamut inc

Check the events: https://de.ra.co/events/1993705

[schibborasso]

A S H R A ash ra tempel (50th anniversary)

[dankalbumart]

The Dark Side of the Moog II by Pete Namlook & Klaus Schulze FAX +49-69/450464 1995 Ambient / Ambient Trance / Avant Garde / Ambient House / Experimental Electronic / Berlin School / Nature Recordings / Ambient Techno / New Age

[jordicervera]

Lolíssima @lolavondage #tbt ✨🤘🏾🚀🖤 ph: @jordicerveraph |@jordicerverabw @jordicervera_art • • • • • #ibiza #jordicervera #avantgarde #HypeBeast #vscoportrait #ig_mood #discoverportrait #ibz #berlin #berlinphotographer #profile_vision #bleachmyfilm #instamoment #ibizafashion #ibizaphotographer #berlinphotographer #fashionpost #instastyle #fblogger #lookbook #agency #fashionlover #outfitoftheday #ootdshare #nikonartists #lolavondage (at Ibiza, Spain) https://www.instagram.com/p/CorZOXPND0p/?igshid=NGJjMDIxMWI=

[atelierhaus-aratora]

Berlin wird zur Galerie. Bleibt die Frage: Wo hängen die Plakate? Projekt „DU BIST AM ZUG“ ist gestartet, vom 16. Juli bis Ende August 2024 stellt WALL seine City-Light-Posterwände in Berlin zur Verfügung. Der Standort ist vorher nicht bekannt, das Suchspiel hat begonnen!

Der Holztypendruck „Gassi geh‘n“ war bis zum 11. Juli in der „feinart“ Galerie Berlin zu sehen. Jetzt im Hochformat auf den Wall-City-Light-Posterwänden in Berlin. 2000 Säulen, ein Suchspiel in der Millionenstadt.

Poster gefunden, Königin-Luise-Straße 80, Dahlem, Bushaltestelle am Arndt-Gymnasium. Danke Svenia für das Foto.

Poster gefunden, Prinzenallee 72, Gesundbrunnen, Richtung Pankow. Danke Peter für das Foto.

[normally0]

Architectural Masters Shaping Vienna's Narrative

In the heart of Vienna's architectural landscape lies a tapestry woven with the threads of innovation, irony, and eco-consciousness, spun by the hands of visionary masters who dared to challenge convention.

At the helm stands Gustav Peichl, a maestro of both structure and satire. His journey, intertwined with the Academy of Fine Arts Vienna, saw him sketching blueprints by day and caricatures by night, navigating the complexities of identity amidst the shadows of wartime occupation. Peichl's architectural legacy, epitomized by the EFA Radio Satellite Station, echoes his wit and wisdom, transcending mere mortar and steel.

Beside him strides Hans Hollein, a pioneer of postmodern architecture, whose canvas extended beyond mere buildings to encompass the very essence of urban landscapes. With his iconic aircraft carrier collage, Hollein redefined the boundaries of architectural expression, blurring the lines between industrial prowess and artistic vision. His legacy, etched in landmarks like the Haas House, continues to shape Vienna's skyline with audacious strokes of innovation.

Lebbeus Woods, an architect of the avant-garde, lends a philosophical hue to Vienna's architectural narrative. His visionary projects, steeped in the ethos of crisis and possibility, beckon us to reimagine the cityscape as a living, breathing entity, responsive to the ebbs and flows of human existence. Through Woods's lens, Vienna becomes a stage for architectural experimentation, where the boundaries of convention dissolve in the face of boundless imagination.

Friedensreich Hundertwasser, with his vibrant hues and organic forms, infuses Vienna's architecture with a touch of whimsy and eco-consciousness. From the iconic Hundertwasserhaus to the Spittelau waste incineration plant, his designs defy the straight line and embrace the vibrant pulse of nature, reminding us that beauty lies in harmony with the environment.

Yet amidst the cacophony of creativity, the city bears the weight of its past, embodied in the stark silhouette of Flak Towers. These concrete behemoths, relics of wartime fortifications, stand as monuments to resilience and remembrance, casting a shadow over Vienna's architectural landscape.

As Vienna stands on the precipice of transformation, these architectural luminaries converge to inspire dialogue and action. From Peichl's irony to Hollein's innovation, from Woods's philosophy to Hundertwasser's eclecticism, each voice adds a layer to the symphony of architectural enlightenment.

And so, as the Fabrication Gap symposium beckons, Vienna prepares to embrace the future with open arms, weaving together the threads of tradition and innovation to shape a collective vision of architectural excellence and sustainability. In this crucible of creativity, the city's narrative unfolds, a testament to the enduring spirit of architectural ingenuity and collective endeavour.

[blackngreygoat]

thanks #peterdoherty

[depressiontribe]

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[eternaldrones]

Listen/purchase: For Wind Poetry by yolabmi

[bspoquemagazine]

Gisèle Vienne: Delving into the Unsettling in Ourselves

What is a doll? A double and a projection. A memento of the weirdness in our bodies. But, they are also a political instrument, of both submission and rebellion. Dolls subtly explain to us how we should behave and dress, how our bodies become beautiful and desirable. Desirable to who? To the patriarchal society that wants us to stay in certain boxes, but especially that doesn’t want us to be…

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[thinkingimages]

A Derek Jarman film with music by Throbbing Gristle Derek Jarman used some of his 70s home movie footage to produce this wonderful piece of exploitational avantgarde cinema. Actually the original material has been slowed down to a speed of 3-6 frames, then Jarman added colour effects and the pulsating, menacing score by Industrial supergroup Throbbing Gristle The result is a piece of art not to dissimilar to Jarman’s painting work in using found footage as elements of memory and mind that resemble ideas reflected in the Cabala and in C.G. Jung`s writings about an archetypical past that is hidden in everyone of us. The first, In the Shadow of the Sun (1974-80), was originally put together by Jarman himself in 1974 from re-shot Super-8 material including footage from The Art of Mirrors and Journey to Avebury, amongst several others. The film was eventually blown-up to 35mm and premiered at the 1981 Berlin Film Festival. The focus on ritual, mysticism and obscure alchemical symbolism links it with the work of Anger. However, Jarman’s preference for the work of Carl Jung and the “white” magician John Dee, is quite distinct from Anger’s invocations of the “black” magician Alistair Crowley. – Jon Behrens

Extending the recent pagan theme, Ubuweb posts Derek Jarman’s determinedly occult and oneiric film, In the Shadow of the Sun (1980), notable for its soundtrack by Throbbing Gristle. This was the longest of Jarman’s films derived from Super-8 which he made throughout the 1970s between work as a production designer and his feature films. He never saw the low resolution, grain and scratches of Super-8 as a deficiency; on the contrary, for a painter it was a means to achieve with film stock some of the texture of painting. Michael O’Pray described the process and intent behind the film in Afterimage 12 (1985):

In 1973, Jarman shot the central sequences for his first lengthy film, and most ambitious to date, In the Shadow of the Sun, which in fact was not shown publicly until 1980, at the Berlin Film Festival. In the film he incorporated two early films, A Journey to Avebury a romantic landscape film, and The Magician (a.k.a. Tarot). The final sequences were shot on Fire Island in the following year. Fire Island survives as a separate film. In this period, Jarman had begun to express a mythology which he felt underpinned the film. He writes in Dancing Ledge of discovering “the key to the imagery that I had created quite unconsciously in the preceding months”, namely Jung’s Alchemical Studies and Seven Sermons to the Dead. He also states that these books “gave me the confidence to allow my dream-images to drift and collide at random”. The themes and ideas found in Jubilee, The Angelic Conversation, The Tempest and to some extent in Imagining October are powerfully distilled in In the Shadow of the Sun. Jarman’s obsession with the sun, fire and gold (which spilled over in the paintings he exhibited at the ICA in 1984) and an ancient mythology and poetics are compressed in In the Shadow of the Sun with its rich superimposition and painterly textures achieved through the degeneration “caused by the refilming of multiple images”. Jarman describes some of the ideas behind In the Shadow of the Sun:

“This is the way the Super-8s are structured from writing: the buried word-signs emphasize the fact that they convey a language. There is the image and the word, and the image of the word. The ‘poetry of fire’ relies on a treatment of word and object as equivalent: both are signs; both are luminous and opaque. The pleasure of Super-8 is the pleasure of seeing language put through the magic lantern.” Dancing Ledge p.129

John Coulthart

[germanpostwarmodern]

The dubious relationship between some (st)architects and authoritarian or even dictatorial regimes has a long history and surely requires significant moral flexibility. The latter clearly also characterized German architect Cäsar Pinnau (1906-88) whose flexibility extended well beyond his morals and to his conception of architecture: as a servile contractor Pinnau contributed to Hitler’s Reichskanzlei, Speer’s plans for Berlin but also designed buildings and interiors for postwar magnates like Onassis or the Oetker family. In this capacity he oscillated between traditionalisms, glass-and-steel modernism, the neoclassicism he personally preferred and a country style, always depending on the taste and requirements of his clients.

Against this backdrop and Pinnau’s charged biography it is, from a scientific point of view, regrettable that it took until 2015 for a critical evaluation of his life and work and a monograph to mature. With „Zwischen Avantgarde und Salon. Cäsar Pinnau 1906–1988“, published by Dölling und Galitz in 2015, Ulrich Höhns provides a comprehensive revision of the architect’s life and work including a complete work catalogue. The latter, just like the insightful texts by the author, is organized along the different chapters of Pinnau’s life, starting with his training at Staatsschule für angewandte Kunst in Munich and his long-term employment in the office of Fritz August Breuhaus from 1930 to 1937. In 1937 Pinnau became member of the NSDAP and gained the attention of Albert Speer. In the following years up until Germany’s defeat in 1945 Pinnau received numerous government commissions with an emphasis on interior design, a period which Höhns very lucidly examines by equally addressing Pinnau’s designs and his personal shortcomings, e.g. the negation of the connex between architecture and politics.

After the war his career took off and despite his leanings toward historical styles Pinnau realized remarkable modern buildings and even ships and yachts. All of these designs are included in the present volume which allows for an all-encompassing critical evaluation of an architect whose biography is exemplary for many architects of his generation.

[mybeingthere]

Géza Szóbel was French/Hungarian painter (1905 - 1963). His first exhibition was held in the Cultural Palace of Komárom at his age of 23. Later on, he was admitted to the Fine Arts Academy of Pargue, and then he moved to Paris, where he became the student of Fernand Léger. The modern French painting movements influenced his works significantly. After his quick visit in Berlin, he got touched by the German Expressionism, therefore he decided to return to the other capital of avantgarde: Prague. His second exhibition was in Bratislava in 1934. Finally, he settled down in Paris with his wife, where he became friends with such avantgarde artists like Chagall, Le Corbusier, Aragon, Lucien Hervé and the Delaunay couple.

In this inspiring and vibrant atmosphere, Szóbel’s painting became more conscious and reformed. His art is taking place on the borders of fauvism, expressionism, surrealism and cubism, but it doesn’t really belong to any of these movements. He joined the army and participated in the war. After returning, he exhibited a series called Civilisation, which represented the cruelty of mankind. His works were exhibited in London alongside with the series of Francisco Goya: The disasters of war. After the war, he turned towards geometrically edited, mostly figurative imagery. Rhythm was the most important element of his later works. The intertwined elements gives an illusion of movement on his last mural-like paintings. Géza Szóbel’s paintings merged together with the modern French art and he became a significant representative of the scene.